Light and Emotional Architecture: An Embodied Experience

The presented explorative research focuses on the phenomenological relationship and emotional impact of light within architectural spaces, grounded in a pilot study and literature review. Serving as the foundational framework for a Ph.D., this study aspires to decipher the role of light in Emotional Architecture—a term introduced by the German artist Mathias Goeritz in his 1953 architectural manifesto crafted in Mexico. This multidimensional pilot study employs experiential observation and structured interviews, complemented with qualitative and quantitative documentation, all anchored by literature-based insights. Set in the Barragán House, which served as both the studio and residence for the renowned Mexican architect Luis Barragán since 1948, the study endeavours to elucidate how architectural nuances—like form, materials, colours, and arrangements—affect lighting conditions, subsequently shaping human emotions and experiences. Through twenty-two interviews, the research captured perceived atmospheres and the inherent intentionality of affordances in architecture, revealing a strong correlation between spatial impact on observers and light-related experiences. The interplay between these elements suggests a compelling avenue for implementing Emotional Architecture conducive to both individual and societal sustainable development.


Introduction
What is light and how do we relate spatially to it?The understanding of light as a physical phenomenon is insufficient to comprehend how light shapes a space and how the observer perceives it.Light has an inherent ambiguity, Nobel laureate physicist Niels Bohr (1912) proposed that a photon is neither a particle nor a wave but acquires one or the other identity when it is observed; light presents a waveparticle duality as it can exist as both simultaneously (1,2) This notion of light emphasizes, on the one hand, the limitations of our human perceptual system at a quantum scale and, on the other, contextualizes the potential for light perception at various scales within the built environment, influencing the observer's experience in an illuminated space.Exploring the deep interplay between light and space is intricate, it involves cognition and addresses concepts like experience and subjectivity (3).I follow what architectural historian and theorist Alberto Gomez-Perez remarks on consciousness, that it is not only embodied but also deeply rooted in place.The physical environment plays a pivotal role in shaping human consciousness, closely tying it to emotional well-being (4).The drive to understand the profound impact space has on our emotions stems from my personal experiences within certain architectural spaces that deeply moved me emotionally, spaces I have noticed as a lighting designer to have compelling lighting qualities.Recognizing that a significant portion of our lives is spent within built environments, the works of Sarah Williams Goldhagen, an American author and architecture critic, provide concrete evidence of the profound impact that built environments have on dwellers' emotions, behaviour, and mental and physical health (5).The overarching goal of my research is to ascertain whether "Emotional Architecture" (EA) -a term introduced by the German artist Mathias Goeritz in his 1953 architectural manifesto crafted in Mexico (6)-can promote well-being, from a light and lighting perspective.To help me gain an understanding of the interplay and relationship between space, light, experience, and their emotional resonance, I conducted an explorative research project preceded by a literature review.I investigated the notion of EA from a phenomenological perspective, employing the concepts of "Atmosphere" and "Affordances" through a qualitative and quantitative pilot study.In this paper, I focus exclusively on first-hand empirical material that resulted from structured interviews, leaving for a subsequent paper the quantitative aspects.

Theoretical background
To explore how emotions resonate in tandem with space, the notion of EA is addressed.Merely viewing emotions as bodily sensations, a Cartesian perspective (7,8), is insufficient to understand the intricate relationship between the human mind, body, space, emotions, and the dynamics of light.The theoretical approach in this paper provides knowledge to help bridge the phenomenology and philosophical approach to cognition in Architecture.This framework is built upon two pivotal concepts: Atmosphere and Affordance to facilitate the understanding of architecture's embodiment.

Emotional Architecture
The notion of EA conceived by Goeritz in a manifesto was not merely a written critique of the dominant functionalist architectural style and the perceived dehumanization of architecture of the era.It also manifested tangibly in the form of built space: the experimental museum "El Eco", constructed in Mexico City that same year by Goeritz (9) (Figure 1 & Figure 2).It can be said that Goeritz contravened with the precepts of modernism, where standardization, mass production, functionality, formal abstraction, and internationalization are overshadowed by needs, idiosyncrasies of handicraft, figuration, symbols, and regionalism similar to what Williams G. expresses on the design methods used by the Finish architect Alvar Aalto (10).Similarly, Goeritz´s friend and collaborator, Mexican architect Luis Barragán, also followed this path.However, reactions to his work vary.For some, like Luis E. Carranza referencing Kenneth Frampton (11), Barragán's architecture embodies a transition from contemporary modernity to an architecture of resistance, or "critical regionalist architecture".
Conversely, others critique it as "Corbusian regionalism", viewing it as a fusion of Barragán's "tropicalization" of architectural Modernism and his reinterpretation of ecclesiastical design.Barragán's reputation as a Pritzker Prize laureate undoubtedly underscores the values many in the architecture community resonate with.Goeritz and Barragán had in the design of the Satellite Towers of 1958 an emblematic and illustrative work of their collaboration.The Satelite Towers are a significant architectural monument that has since become an identity marker for the region bordering Mexico City and Mexico State.Mexican historian and curator Daniel Garza Usabiaga inscribes the towers into the concept of EA (12) and encapsulates the evident influence Goeritz and Barragán had on each other.Through their years of synergy, both Goeritz and Barragán firmly established themselves as pioneers in the realm of EA.The term EA doesn't have a singular definition.For instance, curator and researcher Leonor Cuahonte describes it as an experimental space that elicits emotions and within which one can move (9).Similarly, Usabiaga characterizes it as an ambiguous space where architecture, conceived as sculpture, engages in a dialogue with spatial considerations and atmospher e (13).

Atmospher e
The perception of a space's atmosphere plays a pivotal role in how we "feel" architecture by our emotions (14), shaping our emotional responses to it.Michael Arbib, a North American computational neuroscientist, posits that the concept of "atmosphere" in a building context is the interplay between the observer and the structure, where the prevailing tone or mood impacts the observer instantly, prompting or preventing certain actions (15).Juhani Pallasmaa, a Finnish architect and theorist, once asserted, "Light is the strongest conditioner of the atmosphere of place, the most comprehensive criteria of the character of space, place, and setting" (16).This perspective aligns with what Italian architect David Ruzzon believes: light "is one of the most important layers in which we can feature the architectural indoor space" (17).Still, the question remains, what is "atmosphere"?According to German philosopher Gernot Böhme, the ontological status of atmospheres remains indeterminate.It is ambiguous whether they belong to the objects or environments emanating from them or to the subjects perceiving them.Essentially, atmosphere underscores the relationship between subject and object, focusing on the aesthetics of the interaction between environmental qualities and human emotions.Böhme, drawing from German philosopher Hermann Schmitz, further describes atmospheres as spatial entities that are "borderless, widespread, yet non-localized".They manifest as phenomenological entities that carry affective feelings and set the mood of space (18).But as Böhme describes, even if "atmosphere" is a term often employed to describe something vague, it does not imply that the term lacks a clear meaning itself.Pallasmaa and Swiss architect Peter Zumthor contend that the essence of architecture is more about crafting atmospheres than geometries.They believe that since architecture can influence mood and its occupants, it should be attuned to promote well-being (4).Perceptual cues, such as atmospheres, can suggest or guide certain actions or affordances.Conversely, they might deter specific behaviours by not providing cues based on the observed atmosphere.Kathleen Stewart encloses the experience of atmosphere as more than just a passive backdrop; it is a dynamic force field where individuals are immersed.Rather than merely being the outcome or effect of other factors, it is a lived affect: a blend of the capacity to affect and be affected, that moulds the present moment into a unique configuration, with potential and expression.Atmosphere represents a tuning of our senses, efforts, and imaginations to potential experiences.It manifests in the palpable uncertainties of everyday life: the unpredictable pull on our emotions (19).

Affordances
To understand the intricate interplay of light, space, atmosphere, and emotion-what I term the spatiosensory relation-I will employ James Gibson's 1979 theory of affordances within an architectural context.This will help decipher how spatial conditions and their lighting conditions either facilitate or inhibit specific actions or behaviours.By placing these actions or behaviours within Gibson's defined environment, we can better comprehend the embodied experience of this relation.My research starts with the notion that objects and environments, through their design, materials, and layout, can evoke certain meanings or associations that influence human interactions and experiences.If a spatial design 1320 (2024) 012021 IOP Publishing doi:10.1088/1755-1315/1320/1/0120214 implies symbolic or metaphorical meanings, shaping how individuals perceive and engage with it, then light-generated atmospheres hold similar sway.Gibson emphasized the significance of surfaces and spatial layouts, outlining nine ecological principles related to them (20).These principles describe specific properties of the environment, with four directly addressing light attributes such as intensity, shading, surface colour through wavelengths, and light reflection or absorption.As Sarah Robinson articulates, "We could understand surfaces not for what they are, but for what they do" (21).From a philosophical perspective, I see Gibsonian affordances as abstractions, something one cannot escape from to think.In my view, how an affordance is perceived aligns with English mathematician and philosopher Alfred North Whitehead's idea of "prehensive unity of volume", which, in this context, refers to the architectural experience.Similarly, just as this prehensive unity, a collection of parts, varies based on perspective, the spatial configuration and its associated affordance hinge on the collective impact of architectural elements and their relationship to specific experiences or viewpoints (22).
The connection between the two concepts elucidated above is that the atmospheres present varying affordances based on dynamic experiences within a space, as well as dynamic lighting conditions, contrasting with static perceptions from a singular vantage point and static light.Additionally, Austrian-German philosopher and phenomenologist, Edmund Husserl, talked about optimal perception, the way things offer themselves to us.By relating this to light in space and based on Husserl´s ideas, one can say that space can have diverse appearances depending on the lighting conditions (23).The space offered to us and discoverable through light communicates diverse possibilities of atmospheres and affordances that are dependent on the attunement to those.Recognizing attunement as an interplay between internal projections and sensory environmental perceptions (24), it is understood that observers will resonate differently with spaces based on their personal histories, cultural backgrounds, and physical sensations.These diverse perceptions are not discrepancies in affordance theory but opportunities to explore the myriad emotions a singular space can elicit.It is this emotional spectrum that is of interest to me.When architecture, enhanced by light-driven atmospheres, resonates emotionally with an observer, it embodies the human experience and comprehension of the built environment (25).This theory hinges on the notion of affordances and their relation to the attunement to atmospheres since experiences are intrinsically tied to objects-here, architecture.Atmospheric affordances don't merely elicit a subliminal response; they also communicate potential uses, actions, and functionalities (26).

Developing the question
Is it possible to define a clear action-response relationship between user and architecture?Learning from the concept of Don Norman, a North American cognitive engineer, of Emotional Design, adapted to spatial experience instead of human-computer interaction and product design (27), this paper explores a methodology to understand the associated phenomena.Precise emotional responses in the spatiotemporal experiences outside the confinements of a laboratory setting can just be imagined or guessed, but not guaranteed.In this spatio-emotional and phenomenological approach, human nature and the nature of reality are framed by what cannot be determined.Precise causes cannot be affirmed, leading to an inherent unpredictability in this given universe.Therefore I explore the possibility of lighting being a pivotal element in crafting EA and enhancing the perception of affordances, based on how it unveils spaces and shapes atmospheres.If lighting atmospheres-whether crafted by natural or man-made sources-can influence perceptions and interactions by highlighting or concealing certain architectural elements, can such spatial experiences consistently evoke specific emotions and responses?

Historical context
To address these questions and deepen the understanding of EA, Atmosphere, and Affordances, my research focuses on Barragán House (BH) in Mexico City (1942), as a case pilot study, adopting a phenomenological approach while examining the residence and studio Barragán designed for himself (Figure 3 & Figure 4).This building is widely recognized as embodying the hallmarks of exemplary architecture that aligns with the principles of EA.Barragán emphasized psychic needs in his designs, underlining the importance of refuge, privacy, and an intuitive connection to architecture, while prioritizing aesthetic appeal.His designs often evoked emotions through atmospheres, employing elements such as low walls, thick walls, and limited window surfaces to ensure the feeling of shelter and protection.In his architecture, he aimed for a seamless continuation of the experience of lighting situations between the interior rooms of the house and the natural environment of the gardens.Barragán's designs frequently played with contrasts, shifting from light to shadow and from constrained to expansive spaces (28).Federica Zanco, in reference to Barragán, underscores that architecture is tangible and exists through elements like space, light, colour, size, and proportion.Its perception is intricately linked with bodily movements through spaces ( 29), these elements echoed in the phenomenological approach applied to a pilot case study of BH.Barragán's words echo: "My house is my refuge, an emotional piece of architecture, not a cold piece of convenience" (30).This emotional resonance is crafted through privacy and intimacy.In Barragán's work, light is a potent tool.He adeptly manoeuvres it, employing contrast, texture, colour, darkness, and strategic placements of windows and planes to conjure varied luminous experiences.

Methodology
In designing and executing a pilot study, I incorporated a blend of methods to establish a robust multimodal methodology rooted in a phenomenological approach.While first-hand experience is pivotal in interpreting affordances, visual sociologist Luc Pauwels and researcher Dawn Mannay assert that such experiences are often influenced by the prevailing visual culture (31).The study of the perception of illuminated spaces leans heavily on visual considerations.As such, visual research methods are employed.Yet, as these authors caution, visual culture should not be limited to merely an "image culture", nor should visual research be confined to "image-based inquiry" (31).Drawing from their insights, my research takes into consideration the study of the phenomenon at BH.The term "phenomenon" in visual research refers to the subject or topic that is being studied.This pilot study involves examining light and the concepts, atmosphere, and affordance through on-site retrieved data and documentation, and ethnographic research.A quantitative and qualitative feed of light and lighting characteristics as well as visitors' experiences to BH are registered via photometric measurements, photography, video and interviews during July of 2023.The photographs are to be used as evidence of the light distribution and other qualities of space, such as colour, proportions, and arrangement of spaces and objects concerning architecture.The video serves as a record of a first-person perspective experience to provide a viewer´s journey of the events while moving at BH.The interviews are used to analyse the visitor´s experience, impressions and preferences.
Prior to the set-up of the pilot study, my exploration into this topic began with a thorough literature review.I sought to understand the essence of EA and the spaces that fall under this designation.Comprehensive investigations into Goeritz and Barragán were undertaken, drawing from monographs, collected manuscripts, specialized literature, and recorded dialogues with both figures' experts.Further, readings from phenomenology and neuro-architecture theories offered profound insights, on concepts such as atmosphere and spatial affordances.A literature review was followed by the setting up of a pilot study and site visits of spaces designed by Goeritz and Barragán in Mexico City.In particular, this paper and the pilot study focus on BH.The explorative research focuses on the phenomenological relationship and emotional impact of light at BH by documenting qualitative and quantitative data.The collected data is approached in two different ways: A) the Ecological Environment, following Gibson´s etymology (20), and B) the Human Aspect.This distinction allowed for the understanding of the relationship between how light in spaces can influence people's perceptions, experiences, emotions, and sense of atmosphere by revealing or concealing form, material, colour and architectural configuration (Figure 5).This paper discusses the literature review and Human Aspect portion of the pilot study.

Designing my study
The Human Aspect pertains to the phenomenological experiences within BH.While this pilot study documents various layers and approaches to the primary question, this paper's results and discussions are concentrated on the Human Aspect.Detailed analyses of the data acquired using the methods described in the previous section, along with the integration step (Figure 5) will be undertaken in future research phases.My primary method for capturing the Human Aspect involved interviewing visitors to BH.The house offers regular tours from 11:00 to 16:00 hours, Monday to Saturday.Visitors schedule their tours online in advance.Each tour accommodates a maximum of six visitors.Following their tour, visitors were invited for an interview, which they participated in voluntarily, ensuring adherence to the General Data Protection Regulation (GDPR).22 participants consented to be interviewed and audio-recorded, with the assurance of anonymity and confidentiality.The structured interview contained open-ended questions to ensure consistency but also left room for spontaneous follow-up queries or elaborations.Depending on the interviewee's preference, the interview was conducted in either English or Spanish.
The initial segment of the interview gauged the interviewee's familiarity with BH and Barragán's broader works.It also sought information on their profession, background, and connection (or lack thereof) to architecture and/or lighting.The nationality of participants was asked to assess their familiarity with this architectural style (EA, Mexican, or modernistic) and note their age range to understand the house's visitor demographic better.The interview's second segment addressed concepts discussed throughout this paper and more, such as visit expectations, perceived atmosphere, emotions experienced, spatial perceptions, overall impressions, identified architectural qualities, and familiarity with EA.Concerning the notion of Affordances, which isn't widely recognized, the term was not directly used in the interview questions.Instead, this question was asked: "Were there specific elements or qualities of the space that seemed to suggest or encourage particular experiences or actions, even if you didn't act on them?"If further clarification was required, this follow-up question was added: "Could you elaborate on how these elements influenced your perception or emotions during the visit?."

Results and discussion
As previously mentioned, this paper's results from the pilot study solely address the human aspects of experience.Interviewees had diverse professional backgrounds: 50% were associated with art, design, or architecture, and the remaining had varied professions.The motivation for visiting BH is not predominantly due to an architectural interest or passion for Luis Barragán.According to the BH staff and some respondents, it is a highly recommended tourist attraction both in guidebooks and via wordof-mouth.
Analysis of the interview recordings reveals a dichotomy.On one hand, opinions differ widely; on the other, there's significant consensus in certain areas.The prevailing perceived atmosphere is largely positive.Based on conversations with the interviewees, the atmospheres associated with different spaces in the house include "peaceful," "calm," "tranquillity," "freshness" (ther mal perception), "elegant," "introspective," "profound," "positivism," "ease," "inviting," "powerful," "generous," "warm," "soft," "serene," and "a moment to take a pause."I have categorized these semantic descriptions of the perceived atmospher es as positive, negative, and relational.Negative descriptions, validated by interviewees, comprise terms like "trapped", "prison-like", and "very dark".Relational responses tied directly to architectural elements and their relation to perceived ideas, such as "compression & release" (pertaining to transitional spaces), contrasts in light and colour, the "wildness & order" juxtaposition between natural elements like gardens and built forms, "preparation" (an entrance area cueing visitors about what's next), and "perfection," related to terrace features such as volume, geometry, scale, and colour.
Among the atmospheric descriptors, "peaceful" was most common with seven mentions, followed by "calm" with three, and "tranquil" with two.It is noteworthy that many interviewees used similar language for both felt emotions and perceived atmosphere, even though the interview delineated these aspects.Terms like "peaceful", "calm", "tranquil", and "serene" recur in both contexts.This suggests that many find it challenging to articulate the emotional dimension of their experience and lean towards architectural expressions, regardless of their professional background.This convergence between emotional responses and atmospheric perceptions underscores T. Griffero's notion that atmospheres elicit specific feelings when we interact with our environment (26) or, expressed in other words, the relation between atmosphere, emotion and architecture is a very tight one, I could say even inseparable.The interview also helped to elaborate on the impact spaces had on the interviewee (Figure 6).Respondents found that both the terrace and the living room stood out (Figure 7 & Figure 8).Both areas offer strong connections to nature and exude an outdoor feel, aspects recognized by respondents who found these spaces especially memorable.Interestingly, two of the most photographed and presumably well-known areas-the vestibule and the library (Figure 3 & Figure 4)-didn't rank highly in impact.
There is a distinct consistency in how Barragán's work appears in media, stemming from a controlled narrative (32).This underscores the primacy of direct experience over preconceived notions, a point further emphasized by interviewees' detailed feedback.The qualities most frequently identified as having the strongest influence on the perceived atmosphere were clear: "light" was mentioned on fourteen occasions, "colour" on six, and "window/view" three times.Beyond these, there were three distinct spatial/architectural aspects, which, while not frequently mentioned, were described in a particularly insightful and analytical manner.First, there is the use of low walls as divisional elements in spaces (Figure 10); these walls, standing between 1.90m to 2.50m tall in rooms that have a 6.00m ceiling height, obstruct views.Second is the non-linear layout of spaces, filled with corners, which lends a "mysterious" and "surprising" quality to the atmosphere (Figure 11).Third are the transitional spaces or doorways, some as low as 1.90m, which create a "compression and release" effect (Figure 9).This effect has been perceived in two ways: positively, as it intensifies the experience and sets the tone for the next space, and negatively, as it can invoke feelings of claustrophobia.Windows, unsurprisingly, were often associated with views, light, or a combination of the two.Emphasis was placed on their role in "framing the view", "bringing the outside in", and fostering a "connection to nature" (Figure 8 & Figure 13).Intriguingly, the few negative atmospheric perceptions were often tied to a lack of view or light.This was particularly evident in the terrace (Figure 7), a space that left dual impressions-both overwhelmingly positive and distinctly negative.The primary source of dissatisfaction in this area stemmed from the high walls that, while offering a visual conduit to the sky, obstructed any panoramic view of the surroundings.
Regarding the concept of affordances, nearly all respondents-twenty-two in total-indicated they had similar intentions or inclinations while in BH.Cross-referencing these with their perceptions of emotion and atmosphere reveals a parallel between the "afforded" actions and space.Atmospheres described as peaceful, calm, and tranquil seemed to suggest an activity that is receptive in action.These included sitting, lying down, or simply relaxing, and they were often accompanied by complementary activities like sipping coffee or wine, reading, contemplating, or listening to music or the rain.The most dynamic engagement was the desire to perform a head-stand, demonstrated by a yoga practitioner, while the most receptive action responses were to "just be present" and to be introspective.Generally, the house, in its varied spaces, positively impacts the emotional states of visitors through the perceived atmosphere, encouraging actions, dynamic or receptive, that resonate with that emotional state.The immersive experience and movement through the house, navigating various lighting zones, enable individuals to position themselves within a space and discern the distinct atmospheres present in the house, mediated by light and affordances.As a pilot study, there are a few limitations to be considered and adjusted in a future study.The influence or bias that an interviewee can have due to explanations provided by the tour guide is to be taken into account.The predetermined path and sequence of spaces in a guided tour and the possible influence of other people´s movements and reactions when visiting the house in groups of six also creates the possibility that an individual's consciousness is shaped by their personal and shared experiences.It is important to mention that the visit duration is of relevance, where the approximately 1-hour visit and the reasonably constant weather conditions make no room for the appreciation of daylight dynamics and the experience of the house for extended periods.From my perspective as a researcher and observer who has spent several extended days inside the house, I've noted that the daylight's character and atmosphere remain rather consistent, with its natural gradual variations as dusk approaches.The most notable changes in the Atmosphere are during dusk and night when artificial lighting takes over (Figure 12).The interview process made it clear that the experience at BH was not so consciously lived, but happened almost automatically, just as Goeritz expressed in his EA manifesto.

Conclusion
In conclusion, the intricate interplay between light, space, and emotion in architecture manifests as a multifaceted equation where architecture is perceived through experience and the assimilation of offered affordances.Visual cues, such as windows, views, and light, play a pivotal role in reinforcing affordances.They have the power to shape individual perceptions, emotions, and behaviours in space, thus enriching the overall architectural experience.Built environments like the BH exemplify the deliberate design of atmospheres buttressed by light and colour, offering visitors an emotive architectural experience.The visitors´ personal experiences are witness to how Barragán's work resonated on an individual level and was interpreted depending on the perceived affordances and atmospheres.Simultaneously these perceived concepts triggered a particular emotional response.In conjunction Affordances, Atmospheres and emotional response are in synergy with light and architecture.The pilot case study affirms, through its interviews, that architectural design together with light interaction is discerned in ways that significantly influence atmospher es.This is instrumental in comprehending how architecture is "felt" through our emotions, a sentiment articulated by E. Canepa (14).The revelations from this pilot study echo H. Plummer's characterization of Luis Barragán as a luminary in the realm of light, crafting spaces using light and its interplay with shadow.These atmospheric spaces invite dwelling and are capable of evoking emotional responses (33).The introduction of the Inner Development Goals (IDGs) (34) as an extension of the Sustainable Development Goals from the UN, is an initiative that underscores the significance of prioritizing human inner growth and development.Designing architectural spaces that actively incorporate the dimensions of the IDGs can foster sustainable development, benefiting both individuals and society at large.Dimensions like Being, Thinking, and Acting present opportunities to integrate EA for well-being, emphasizing the creation of atmospheres and cultivating inspiring affordances through light.The forthcoming cross-referencing of measured data, in tandem with the experiential insights from interviews, will aim to deepen our understanding of the relationship between light, space, and the perceived atmospheres outlined in this paper's findings.As EA, BH, far from being an experimental architectural space such as Goeritz´ El Eco, is a building that delivers exactly what is described in the EA manifesto: "creator or receiver of our time aspires to something more than a nice and adequate house.He/she asks -or will have to ask one day -for architecture and its modern means and materials, a spiritual elevation; simply put an emotion".

Figure 1 :
Figure 1: Narrowing of the access corridor enhances depth perception, wooden floor planks mirror the tapering.

Figure 4 :
Figure 4: Iconic floating stairs in the personal library lead to Luis Barragan's office.The window, facing the street, has translucent glass, obscuring a clear view.Luis Barragán House (1942) Mexico City.Photos: Author, 2023.

Figure 5 :
Figure 5: Diagrammatical depiction of information relationships and focus of this paper versus future write-up.

Figure 6 :
Figure 6: Illustrates the evaluation by participants of the impact of spaces and contained "elements" in them.Correlation to view to the outdoors and daylight (DL) is presented.

Figure 7 :
Figure 7: Roof-terrace, features the recognizable and characteristic "Mexican Pink" that Barragan used.No view over the city.

Figure 9 :
Figure 9: Transition point from vestibule to living room.

Figure 10 :
Figure 10: Study area between living room and studio.Low walls that hinder vision but allow natural light over.Luis Barragán House (1942) Mexico City.Photos: Author, 2023.

Figure 11 :
Figure 11: Nonlinear layout of spaces, filled with corners.